USA Today's Scores

  • Movies
  • TV
For 3,504 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Neil Young: Heart of Gold
Lowest review score: 0 Idle Hands
Score distribution:
3504 movie reviews
  1. Screwball, vaguely futuristic political satires are a rare hybrid, and War, Inc. is an intriguing, if flawed, example.
  2. Though the picture falls apart whenever the two leads aren't on screen together, you can argue that That isn't that inferior to its predecessor.
  3. Fun is hiding behind a bad movie costume in this humorless and idiotic Halloween teen comedy.
  4. Yearns to be fresh but ends up tasteless. It's as drawn-out, forced and annoying as a holiday meal with a dozen carping relatives.
  5. It comes off like a coughed-up furball: a wan rehash with too many elements of the hard-to-swallow 2004 original.
  6. Hip-hoppish Honey is in the harmlessly junky "let's put on a show" tradition of "Breakin' 2: Electric Boogaloo," minus electricity but with a budget for supporting-cast navel rings that 1984's break-dance sequel certainly didn't have.
  7. Despite some high-caliber voice talent and shimmering animation, it's hard to get a bead on this tale.
  8. You have to give director Jonathan Liebesman some points for sparing no shell casings or standing buildings to hustle us through the film's languorous two hours.
  9. Will leave audiences yawning rather than gasping from fear.
  10. The movie's premise is as dopey as they come: A serial killer with a conscience is killing other serial killers.
  11. God may forgive you for seeing this needlessly brutal film. But you won't forgive yourself.
  12. Another one of those high-gloss treatments of domestic strife that want to have it both ways. Sitcom-slick, melodrama-edgy.
  13. After "Chocolat" and this, how about a moratorium on candy-centered comedies?
  14. It's too bad more energy wasn't devoted to fleshing out the one-dimensional characters and crafting a decent script. The only reason to catch this harmless diversion is for the group dance sessions.
  15. Writer/producer John "Home Alone" Hughes, the Marquis de Sade of kidcom, and director Les Mayfield manage to squeeze the very bounce out of what should have been a can't-miss update. [26Nov1997 Pg09.D]
    • USA Today
  16. Yes, it's a candy-colored Day-Glo world, but there's a liveliness missing from this lead-footed Speed Racer.
  17. While it doesn't break any new ground or provide any revelations, Seven Pounds is unabashedly emotional and cautiously hopeful. It's the feel-good movie for these feel-bad times.
  18. Best to wait until the movie makes it to TV - where its missteps will loom less large.
  19. A film dealing fully with Hoffman's final years might have had a lot more punch.
  20. More amusing than a lot of expensive Hollywood comedies [26 February 1999, Life, p.5E]
    • USA Today
  21. Pure nonsense is hard to sustain for an entire feature-length movie.
    • USA Today
  22. Hunter is far too talented to waste her time with such mediocre material, as is co-star Kathy Bates, who plays Kippie Kann, an overbearing talk-show host.
  23. The players fall into recognizable stereotypes: the big and clumsy kid, the real talent who's also a showoff, the buffoon, the gross-out guy. But no one is more formulaic than the coach. He starts out smug with the kids and ends up smitten.
  24. Tooth Fairy will make your teeth ache and your skin crawl.
  25. Despite his cockney-accented verbosity, Brand does not convey the effortless conviviality that Dudley Moore did in the part.
  26. Though the movie is more mediocre than abysmal, Ryan's recently banged-up filmography (remember In the Cut) could use what every fighter needs at ringside: a good cut man to stop the bleeding.
  27. Holmes, of Dawson's Creek, will be up the creek if she can't avoid movies like this. And so will you if you see it.
  28. The thrills, chills, frights, starts and occasional screams that a good horror film elicits from an audience are not there. Jeepers, the Creeper has little to recommend it.
  29. Though it's only 90 minutes, the film drags, making these not-so-easy riders pretty tough to watch.
  30. It's all fast and furious up to its draggy finale, and yes, it could spark a sequel. Prepare yourself for coming dread in 18 months: "A Man Together."
  31. In its third go-round, the Lethal Weapon arsenal is running out of ammunition. [15 May 1992]
    • USA Today
  32. You're bound to have more fun working overtime than watching Employee of the Month.
  33. The Canyons is billed as an erotic thriller, but the sexcapades of these empty-headed twentysomethings are far more likely to elicit yawns than titillation.
  34. Proudly stupid, silly and gory.
    • USA Today
  35. Not so admirably, the film feels at times like a giant commercial for Universal Studios.
  36. Washed away by drippy plot. [16 January 1998, p. 4D]
    • USA Today
  37. Fun at times and tedious at others, it's an action-adventure fantasy aimed particularly at gadget-loving boys.
  38. While the jokes are obvious and the romance formulaic, a good-natured sensibility saves the film from being too hokey. The individual parts may not work, but the sum remains entertaining.
  39. Been-there-seen-that wannabe laughfest.
  40. Only a truly dreadful story could make 81 minutes seem like an eternity. And Space Chimps is just that leaden experience.
  41. Though it doesn't fully resonate as a romance, it is effective as a character study.
  42. Viewers seeking a fresh comedy, a seductive romp, or even just an escape from boredom for a couple hours will be left dismally unsatisfied by this stilted, nearly humorless, non-titillating slog.
  43. Audiences everywhere will tune out long before the projector does.
    • USA Today
  44. The movie spends too much time wedging the couple into a May-December moment, where Crystal cracks nostalgic about the good old days. It's sweet, but it grows old.
  45. This comedy deserves credit for taking a decided viewpoint — and delivering a heartfelt if occasionally misguided message.
  46. By the time the movie reaches its protracted conclusion, it feels like a slog. Pacino has a few funny lines, as does Leguizamo, but not nearly enough to save the film from collapsing under the weight of its own self-righteous tedium.
  47. Each actor does his own thing for his own audience demographic.
  48. A tribute to a giant leap for mankind feels like a clumsy shuffle backward for animation.
  49. Conan the Barbarian lives by a pretty simple ethos: He lives, he loves, he slays. What he doesn't do, alas, is act.
  50. The character played by lead Paul Giamatti is a dead-on Shyamalan protagonist: emotionally distanced and something of a train wreck.
  51. While it has the requisite amounts of comedy and romance, it's actually more of a buddy movie. Think "Sex in the City," bro-style.
  52. This film is so superficial and shifts so jarringly in tone that nothing feels authentic -- not Bacon's hard-working husband and father, nor his maniacal vengeance seeker.
  53. The result is far from perfect, but to its many merits, add timing. You never get a movie with this kind of story in mid-August.
  54. One of the film's biggest problems is that Richie is an unsympathetic and rather dim character. The badly drawn role does the likable Timberlake no favors.
  55. It's mystifying how such a muddled and silly movie drew the talented cast it did.
  56. Sharp satire or feel-good foolishness? Silly sap won out.
  57. The film is one long Costco joke - but the punch line is never all that funny.
  58. Alpha and Omega is one of those rarities in the modern era of Hollywood animation: bad.
  59. The tagline for College Road Trip is "You Can't Get There Fast Enough." But for those who sit through this humorless and massively predictable movie, a more apt phrase would be: "You Can't Get Out of There Fast Enough."
  60. Terry Gilliam's “12 Monkeys” can teach The Thirteenth Floor a little something about how to have fun with time travel. And with one number less. [28 May 1999, Life, p.7E]
    • USA Today
  61. As if this drivel weren't bad enough, the ending blatantly threatens a sequel
  62. If there was any doubt that most things in society have been dumbed down in the last couple of decades, Dumb and Dumber To could be exhibit A.
  63. Four is so cobbled with bits of other sci-fi and comic-book movies, there's little to distinguish it.
  64. It's a story that feels familiar at best, hackneyed at worst, which is surprising and disappointing, as director Tom Vaughan also made last year's "Starter for 10," a charming British coming-of-age comedy.
  65. Perhaps Martin should go back to taking chances and writing original work.
  66. Bonds are tested and feelings hurt, but who really cares? The story takes predictable turns, embraces clichés and dodges all humor.
  67. You can't accuse this film of bogging down in cheap psychology, yet you come out dissatisfied and without a clue about what made this person tick.
  68. Rambo III is hardly the first Stallone-y baloney to climax with a commie wipeout; it is the first to palm off its star as the product of a Buddhist monastery. Like, whew. Rambo in a monastery is almost as stomach-turning as E.T. in a brothel. [25 May 1988, p.1D]
    • USA Today
  69. A supernatural action thriller, is jangly, jarring and violent. But more disconcerting is watching the sweet-faced Dakota Fanning swear, get drunk and pack heat -- in both fists, no less.
  70. Mirren is about the only reason this slow-moving revenge tale tingles at all.
  71. Even at its best, the movie plays like a clip reel.
  72. At least Van Damme parodies himself just enough to avoid an all-out battle of the blands . At least director Roland Emmerich slyly allows supermarket Muzak to play during Lundgren's one big emoting scene. [10 July 1992, p.5D]
    • USA Today
  73. Grudge could have saved itself with a rousing finale, but the buildup is so tedious you just want the fight to end.
  74. Gets muddled in slapstick and crude humor.
  75. There's nothing sleazier than sleaze that fails to titillate, and this drab blight on a hot cast is as sleazy as a preordained hit ever gets. [07 Apr 1993 Pg. 08.D]
    • USA Today
  76. Although about as authentic as Chef Boy-Ar-Dee, Martin at least gets to dress funny. Joan Cusack's D.A. looks dowdy and is misused. Carol Kane's grocery-store siren looks slutty and is underused. And as a cop, Melanie Mayron should slap cuffs on her hairdresser. [20 Aug 1990, p.4D]
    • USA Today
  77. Waterlogged trip to nowhere. [13 February 1998, p. 3D]
    • USA Today
  78. Don't expect the seventh Star Wars film here. Star Wars: The Clone Wars is more like a long Saturday morning cartoon.
  79. It doesn't help that the performances are bland (particularly those of Christensen and Bilson) and that what comes out of their mouths is uninspired. Short on imagination and anchored by a wan hero, Jumper is a flight of fancy that never fully takes off.
  80. The story, though initially intriguing, is dicey. A seminal social satire has been spun off into a passionless romance and a wan comedy.
  81. The Expendables 3 is as boneheaded and disposable as it sounds.
  82. This sequel to the clever and funny first "Transformers" not only is disappointing, it will give most people a throbbing case of metal overload.
  83. Women may appear a bit smarter here, but both sexes are portrayed as superficial and silly.
  84. It's unclear why the writers bothered to update the cartoon, unless it was to expand the possibilities for quips and jokey ideas. If so, they failed in their mission, as the movie elicits few laughs.
  85. Flippantly hip without any solid laughs, Life strains to be the flick more offbeat. [24Oct1997 pg06.D]
    • USA Today
  86. There's not a cliché that isn't nailed.
  87. Happily, MacLaine (who can pull off these lovable eccentric dowagers while she's sleeping) and Fraser, showcasing a previously untapped flair for romantic comedy, keep Lake on her toes. [19 Apr 1996, p.1D]
    • USA Today
  88. It's a pretty good ride even if it blatantly steals some of its best stunts from "American Graffiti" and "Grease."
  89. Goo oozes without mercy in A Walk to Remember.
  90. Stuffing painters, writers and, naturally, Gustav Mahler (Jonathan Pryce) into about 90 minutes, the film comes off as little more than a handsomely mounted scorecard of sexual escapades.
    • USA Today
  91. Saoirse Ronan's talents are wasted on a foolish dual part in this dull sci-fi fantasy.
  92. It has been said that no one sees a movie for the sets, yet an exception might be made here for Horizon's visually staggering production design -- truly an event itself. The story, though, is such a transparent variation on the Alien ouevre that your tolerance may hinge on how much you can shrug this off. [15Aug1997 Pg03.D]
    • USA Today
  93. Post Grad is a collection of unfunny, insipid and predictable vignettes in search of a movie.
  94. The dashing Jackman plays his part well enough, but the script doesn't provide sufficient "Indiana Jones"-style bons mots to win us over.
  95. An uplifting but occasionally treacly tale of transcendent grief, opted to venture where angels go fearlessly.
  96. Preposterous, goofy and a clear ripoff of “Planes, Trains and Automobiles,” Identity still manages to make off with just enough laughs to work, thanks to the wondrous McCarthy, one of the few actresses in Hollywood allowed to showcase her wit and charisma as much as her physique.
  97. A moviegoer's nightmare. The story is incoherent, inane and interminable.
  98. Should the desire to see a clever zombie movie strike, try the recent remake of "Dawn of the Dead" or last year's "28 Days."
  99. Though 102 Dalmatians digs up little new ground and muzzles its villain, it does have a fetching sense of functional fun now and then.
  100. The lark-ish Perfect Score is on the high side of the time-killer it sounds like.

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